[Lewis stumbles to her feet as she recovers from being pushed down by Joe Cox]

Alex Murphy:[on radio] Lewis, where are you? Are you all right? [Murphy is holding his pistol to the back of Emil's head] Put your hands on your head. Lewis? [He takes out his handcuffs, only to hear shotguns being pumped. He looks up and sees Steve Minh and Leon Nash standing at the top of two different staircases]

Leon C. Nash: Why don't you let us take over from here, Emil? [Emil spins, grabs Murphy's pistol and throws it in a container. Nash and Minh advance down the steps, shotguns trained on Murphy. As they approach, Emil grabs his own shotgun, pumps it, and puts the barrel to Murphy's neck]

Emil M. Antonowsky: Your ass is mine!

Clarence Boddicker: No! Not yet, it ain't.

[Boddicker enters the room, holding a shotgun in his hand]

Clarence Boddicker: Well what have we here? [He unbuckles Murphy's helmet and puts it on Emil] You a good cop, hotshot? [Emil chuckles] Well sure you are! [steps to Murphy's right side] Boy, you must be some kind of a...great cop, coming here all by yourself.

Clarence Boddicker: See, I got this problem. Cops don't like me. So I don't like cops. [aims his shotgun across Murphy] Na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na-na...[shoots off Murphy's right hand] Well, give the man a hand!

[The gang members laugh. Murphy clutches his bleeding right stump with his left hand]

Clarence Boddicker: He's all yours. [Murphy stands up and attempts to limp away]

[The RoboCop team wheels their equipment into the station as a drunk talks to the desk sergeant.]

Prisoner: I-I'm what you call a repeat offender. I repeat, I will offend again! I get my orders from a higher source.

Sergeant Warren Reed: Shut up, you asshole.

[Staring at the not-yet-revealed-to-the-audience RoboCop.]

Bob Morton: You're going to be a bad motherfucker!

[Morton tests his new creation.]

Bob Morton: What are your prime directives?

RoboCop: Serve the public trust. Protect the innocent. Uphold the law.

[Bob Morton is washing his hands in an OCP bathroom when Dick Jones shows up behind him]

Dick Jones: Congratulations, Bob. I remember when I was a young executive at this company. We used to call the old man funny names. "Iron Butt", "Boner", once I even called him... "asshole". But there was always respect. I always knew where the line was drawn. And you just stepped over it, buddy-boy. You've insulted me. And you've insulted this company with that bastard creation of yours. I had a guaranteed military sale with ED-209. Renovation program. Spare parts for 25 years. Who cares if it worked or not?

Bob Morton: The old man thought it was pretty important... Dick.

Dick Jones: You know... he's a sweet old man. And he means well. But he's not gonna live forever. And I'm number two around here. Pretty simple math, huh, Bob? You just... fucked with the wrong guy!

Ron Miller: Yeah! OK, sure! What about cruise control? Does it come with cruise control?

Lt. Hedgecock: Hey, no problem, Miller. You let the mayor go, we'll even throw in a Blaupunkt! [beat]

Ron Miller: Lieutenant, don't jerk me off! When people jerk me off, I kill them! You wanna see? [Walks over to the mayor] Get up, your honor. Get up! Get up. Your public wants to see you. [He pulls the mayor to the window and puts his submachine gun to his head] Nobody ever takes me seriously! Well, get serious now... and kiss the mayor's ass goodbye!

[RoboCop punches through the wall behind Miller, grabs him and pulls him backwards, his gun firing wildly into the ceiling. RoboCop then spins Miller and punches him out a glass window where he falls to the pavement]

Reporter: Robo, excuse me, Robo! Any special message for all the kids watching at home?

RoboCop: Stay out of trouble.

RoboCop: Excuse me, I have to go. Somewhere, there is a crime happening.

[Clarence enters Bob Morton's house, draws a gun on him and brings him into his living room, where he notices two women are sitting down.]

Clarence Boddiker: Bitches, leave!

[Boddicker meets with Sal in the latter's drug factory.]

Clarence Boddicker: I dunno, I dunno, maybe I'm just not making myself clear. I don't want to fuck with you, Sal, but I've got the connections, I've got the sales organization, I got the muscle to shove enough of this factory so far up your stupid wop ass, that you'll shit snow for a year!

Sal: Frankie, blow this cocksucker's head off.

[Sal's men pull weapons on Boddicker and his crew, who draw their own weapons.]

Dick Jones: You know, I usually don't see anybody without an appointment, but in your case, I'll make an exception.

RoboCop: You are under arrest.

Dick Jones: Oh? On what charge?

RoboCop: Aiding and abetting a known felon.

Dick Jones: Sounds like I'm in a lot of trouble. [holds out hands, as if preparing to be cuffed] You'd better take me in!

RoboCop: I will.

[But before he can do so, "Directive 4" interferes with RoboCop's attempt to arrest Jones]

Dick Jones: What's the matter, officer? I'll tell you what's the matter. It's a little insurance policy called "Directive 4", my contribution to your very psychological profile. Any attempt to arrest a senior officer of OCP results in shutdown. What did you think? That you were an ordinary police officer? You're our product. And we can't very well have our products turning against us, can we?

[Writhing, Robocop briefly manages to hold up his gun]

Dick Jones: Ah. Still a little fight left in you. Maybe you'd like to meet a friend of mine?

[Jones picks up and activates a remote; ED-209 enters the room]

Dick Jones: I had to kill Bob Morton because he made a mistake. Now it's time to erase that mistake.

Clarence Boddicker: Hey, Dickey-boy, how's the tricks?

Dick Jones: That thing is still alive.

Clarence Boddicker: I don't know what you're talking about.

Dick Jones: The police officer who arrested you, the one you spilled your guts to --

Clarence Boddicker: Hey, take a look at my face, Dick! He was trying to kill me!

Dick Jones: He's a cyborg, you idiot! He recorded every word you said. His memories are admissable as evidence. You involved me! You're gonna have to kill it.

Clarence Boddicker: Well, listen, chief...your company built the fucking thing! Now I gotta deal with it? I don't have time for this bullshit! [heads for the door]

Dick Jones: Suit yourself, Clarence. But Delta City begins construction in two months. That means two million workers living in trailers. That means drugs. Gambling. Prostitution. [Boddicker stops, backtracks into the room.] Virgin territory for the man who knows how to open up new markets. One man could control it all, Clarence.

It’s certainly the most challenging role I’ve ever done. To bring that alive, much of it is thanks to Moni Yakim [the head of the Movement Department at Juilliard], Moni Yakim, the writers [Edward Neumeier and Michael Miner], and Paul Verhoeven. That quadrant of people all infused to make that thing, and Rob Bottin, the makeup artist, and Stephan Dupuis, the guy who put on the prosthetics. I dunno, that was just… I knew I was making a good film. When I met Paul Verhoeven in a hotel room in New York, I knew that, because Paul was directing it, it was going to be great. I knew it was going to have something of a moral opera in it and that he was not going to miss the universal morality in this. He was not going to just make an action movie. And it’s a very funny movie and a brilliant sort of social commentary. When I met Verhoeven, I’d seen all his movies, and I just knew he’d be fantastic. And to be feeling the feelings I felt when I met him… I mean, he was intimidating, but I knew that, with his expertise, he’d be executing something non-ephemeral and awakening certain aspects of social morality that’ll last. That movie will be around forever, man.

I feel good about playing a robot,” Weller explains, “in that I’m playing a human being who has been transformed into a cyborg. Aside from the action-adventure, the corruption, corporate machinery gone berserk and so on, the heart of all this is a morality tale. It’s like Beauty and the Beast, or the Tin Man of The Wizard of Oz. It’s a great little jewel of a human story.

I worked with a mime for four months. We wanted to take a human being and transform him into a robot, walking in a suit in such a way that was stylized, attractive, yet computerized and the mechanical without being ‘mimelike.’ In essence, we wanted to have some humanity breathe through this robotic thing.

The guys that shot me are part of the military-industrial complex. These ‘powers that be’ manage the police force and are also behind the cybernetic cop idea. They are also the people who are feeding the drug wars, so they can build more robots and fight the drug wars they themselves created! All these people are guilty-not only the people who shot me, but the people who made me, too. When they realize that Robo has found out the truth about them, they try to kill me.

RoboCop, a futuristic story about a policeman shot to death and then revived after all parts of his body have been replaced by artificial substitutes, introduces a more tragic note: the hero who finds himself literally "between two deaths"—clinically dead and at the same time provided with a new, mechanical body—starts to remember fragments of his previous, "human" life and thus undergoes a process of resubjectivication, changing gradually back from pure incarnated drive to a being of desire. (...) [I]f there is a phenomenon that fully deserves to be called the "fundamental fantasy of contemporary mass culture," it is this fantasy of the return of the living dead: the fantasy of a person who does not want to stay dead but returns again and again to pose a threat to the living.